AUDIENCE PERSPECTIVE ON PUNJABI CINEMA

AUDIENCE PERSPECTIVE ON PUNJABI CINEMA

(A survey based study in Jalandhar)

A 

Dissertation Submitted 

in partial fulfilment of the requirements 

for the Degree of 

M.A (Hons.) in Journalism and Mass Communication

(2013-2015)

Supervised by:                                                                Submitted by:

Ms. Charan Kamal Walia                                                  Deepika

Department of Journalism and Mass Communication

Guru Nanak Dev University, Regional Campus

Jalandhar

CERTIFICATE

This is to certify that the study entitled “Audience Perspective on Punjabi Cinema (A survey based study in Jalandhar)” in partial fulfilment of the requirements for the degree of Master of Journalism & Mass Communication of Guru Nanak Dev University, Amritsar by Deepika is her original work and has been carried out under my supervision. No part of the study has been submitted for any other degree. The assistance and help received during the study has been fully acknowledged.



Ms. Charan Kamal Walia
Assistant Professor
Department of Journalism and Mass Communication
Guru Nanak Dev University, Regional Campus
Jalandhar

DECLARATION

I, Deepika, hereby declare that the work presented herein is genuine work done originally by me and has not been published or submitted elsewhere for the requirement of a Degree or any Programme. Any literature, data or works done by others and cited within this dissertation has been given due acknowledgment and listed in the reference section.


(Charan Kamal Walia)                                                            (Deepika)
Supervisior                                                                   Researcher







 

ACKNOWLEDGEMENT

A research study can’t be completed without the guidance, assistance, inspiration and cooperation from various quarters. This study also bears the inspiration of many persons. The study required hard work, sincerity and devotion, which I tried my best to put on this study and in turn gained a lot of knowledge and confidence from this research.
I am deeply grateful to my project guide Ms. Charan Kamal Walia, she has helped me in completion of this subject. She has been constant guiding force and source of illumination for me. It entirely goes to her credit that this study has attained its final shape. I would like to thank her for valuable advice and guidance.
I would like to express my gratitude to the head of the department, Dr Kamlesh Singh Duggal, for his immense guidance and support which helped me gain insight of this subject.
There are people who despite not being related to my field supported me and provided me with all the help I needed. So, were my family and most importantly my parents in whose aspiration was my inspirations.
I am also thankful to all respondents who spared their valuable time for filling up the questionnaire and helped me out with this project.




                                              TABLE OF CONTENT

           CONTENT                                                               PAGE No.
I. INTRODUCTION                                                              01
SIGNIFICANCE OF THE TOPIC                                              04
OBJECTIVES OF THE STUDY                                                  04
HYPOTHESES                                                                            05
RESEARCH METHODOLGY                                                     05
JALANDHER PROFILE                                                               06

II. REVIEW OF LITERATURE                                                 10

III. HISTORY OF PUNAJBI CINEMA                                     20

IV. DATA ANALYSIS & INTERPRETATION                            31

V. CONCLUSION                                                                      90

BIBLIOGRAPHY                                                                              93
                 APPENDIX                                                                      99


                         

CHAPTER-I

INTRODUCTION

INTRODUCTION

The Path of History of Punjab relates back to the Indus Valley Civilization. The most fertile area of the civilization was also known as ‘Sapta Sindhu’ in the Vedas. The huge amount of literature is written in Punjabi Language that also symbolises the World famous Love-legends. Its rich literature provides a prolific ground for the budding of Punjabi Cinema.
Generally, for Punjabi’s, it is said that they adjust to the changed circumstances and adopt change much better and faster than any other community. That’s why when the first ever Indian talkie “Alam Ara” was produced by ‘Ardeshir Irani’ in 1931, it took just four years for the Punjabis to implement identical try-out on Punjabi Cinema.
While taking dip into the background of Indian cinema most generally used terminologies for the cinema industry of Bombay is known as Bollywood, Tamil film industry is called Kollywood, Bengali film industry is called Tollygunge and Punjabi film industry is called Pollywood.
The efforts of fabricating a Punjabi film started in 1934 itself. The credit of producing the first Punjabi film appositely goes to ‘K.D. Mehra’ who made the first Punjabi film “Sheila- Pind Di Kudi”. It was a super hit in its times and the lead role was played by Baby Noor Jehan in this film.
Punjab Movie Industry has certainly given us immense character actors such as Prithvi Raj Kapoor, Balraj Sahni, Dharmendra, Amrish Puri, Om Puri, Dara Singh and Raj Babbar. The dedication and efforts done by these superstars in film industry are notable and extremely commendable.
The Turning Point in Punjabi Cinema:
The Exceptional Development in the History of Punjabi Cinema was that the first colour movie in Punjabi language “Nanak Naam Jahaz Hai” was released in 1969. It was directed by Ram Maheshwari, it had Prithvi Raj Kapoor, Vimi, Somdutt, Nishi, Suresh, Veena, Tiwari, Jagdish Raj, I.S. Johar & David in its star cast. It was a Religious Film and a Moment Hit.
“Marhi Da Deeva” (1989), a National Award winning Punjabi film directed by Surinder Singh, starring Raj Babbar, Deepti Naval and Parikshit Sahni in lead roles. It was a significantly applauded and well-received adaptation of a novel of the same name by prominent Punjabi writer Gurdial Singh.

The stormy transformation had started in 1999 with Manoj Punj's “Shaheed-e-Mohabbat Butta Singh”, in which noted singer Gurdas Mann and Divya Dutta played the lead roles, bringing the local audience back to the cinema halls.

In 2002, “Je Ayan Nu” (Welcome) initiated a loop of Family based Drama Stories; lead role was played by singer Harbhajan Mann. This was the first big budget (Rs 2.5 crore) movie by the Punjabi film industry standards. It was released worldwide and grossed revenues by growing popularity of Harbhajan Mann.

“Anhe Ghore Da Daan”, film released in 2011, it was directed by Gurvinder Singh, a student of Mani Kaul. It was adapted from the Punjabi novel by Gurdial Singh. It depicts the troubles and problems of Punjabi farmers, rural working class, as well as the landlords. The film won National Awards for Best Direction, Cinematography and Best Feature Film in Punjabi at the 59th National Film Awards of India.

While boosting up the pace of crafting Punjabi Movie Industry, around 42 Punjabi movies were released in 2013 alone. The lucrative Punjabi Movies Industry, catching the eyeballs of the North-Indian Audience and also looking to grip a share of the contribution in producing and distributing  products simultaneously.

 Recently a wave of short movies in the Punjabi film industry has given a hue of change; ‘Nooran’ is a award winning short Punjabi movie, directed by Navtej Sandhu. The story of the film takes its rich inspiration from renowned Punjabi writer's story, "Rabo Marasan". ‘Sutta Naag’ is a Punjabi short film, directed by Amardeep Singh Gill, adaptation of Sahitya Akademi Award winner Ram Saroop Ankhi’s 1963 short story of the same name.
 A genre of 3D animated cinema gear up with the movie Chaar Sahibzaade, directed by Harry Baweja. This movie carried historic story of four sons of Sikh Guru Gobind Singh. This movie was rated blockbuster with 5 stars in the Punjabi cinema.
A fresh experiment of art direction, “Kudesan” directed by Jeet Matharru did not strike the bells of attention of audience of Punjabi cinema. Same as with “Eh Janam Tumhre Likhe”, directed by Harjit Singh also failed in front of Punjabi movie audience.
After a measured and sluggish fire up, the Punjabi film industry (look as if to be now) hovered to scale of new heights and is increasingly becoming trendy not only in the north Indian state, but also in overseas sites where an ample amount of the NRI (Non Residence of India) people with their ancestry in Punjab have settled down. The chief purpose of the movie producers in the state has been to basically entertain their existing audience, to maintain and sustain commercialised competitive benefits and ensure continued satisfaction and loyalty of cinema audience.
Audience
The plain gist of audience is a group of people who gather together to listen to something (such as a concert) or watch something (such as a movie or play) or the people who attend a performance or the people who watch, read, or listen to something or can say a formal meeting with an important person. The act or state of hearing to the concert or can say movie or even to newspapers.
The audience form varies from media to media. The audience for print media known as Readers, the audience for broadcasting media are Listeners, the audience of cinema are cinema goers.
The film as medium initially came up as a fashionable toil. The relation of working-class and other audiences who could have enough money the ticket prices at nickelodeon theatres.
The discussion on cinema audience and its history are still unable to clarify which content can influence and persuade its audiences' opinion and behaviour. The need of audience Punjabi film industry is equally important as its commercial profit. Directly or indirectly the audience of Punjabi film industry is paying off well to the producers for upcoming movies or project, it may be the only reason for the Punjabi film industry for keep growing till now.
The relation between Punjabi film industry and its audience is dynamic; it covers all the possible strife which the producers face. The main objective of film industry is to delight the audience with varied types of experiments with the stories and relates it to cinema and the profit somehow shows the response to the producers. The existing hi-tech perspective of film industry with its audience interactions are changing from application on reactive forms to interactive forms.
Whether discussing the responsibilities of film audiences in this partnership, both Punjabi industry and its audience have their role to play. Where Punjabi film industry needs to showcase the appropriate film content as per the choice of audience and on the feedback end, the film audience needs to be evaluating and responding to the industry . The implicit observation of audience is much necessitating here for their development and betterment of the film industry.
 SIGNIFICANCE OF THE TOPIC
There is not much variety in the content of the Punjabi films. The Same old loop of Romantic Comedies with same kind of stories has been taken by the producers of the Punjabi movie. In this research, the researcher has tried to find the film content which actually attracts the audience. The increasing interest of Punjabi movie audience has eventually given profit to the production team of the Punjabi films. The research has been conducted to check the awareness of different content of movies in the Punjabi cinema among the audience. It has also given the idea about the changes and rectifications which can be made in this direction so that both the producers and the audience would reap its benefits.
The Punjabi cinema lies on the staple feed of audience choice; so it is the duty of a producer to give relevant and most appropriate content to the audience. So, through his study the researcher has implicitly tried to find out the loop holes and problems of the Punjabi film industry with their respective audience. The researcher has tried to uncover the accurate problems and troubles that have been faced by the Punjabi film industry while dealing with their spectators.
 OBJECTIVES
• To know about the interest of audience in Punjabi movies.
• To find and evaluate the commercial tilt of Punjabi film industry.
• To find the choice of stories of audience in Punjabi movies.
• The awareness of content of Punjabi movies in audience.
• To find the audience interest in art movies produced by Punjabi movie industry.
• To find the impact of Punjabi cinema on the life of audience.
• To find the significance of word “Jatt” in the Punjabi movies.
                               

HYPOTHESES
• The preference of audience has changed from romantic comedies to reality based movies.
• Punjabi cinema industry has started focussing on commercial rather than meaningful cinema.
• Audience is much aware about the deteriorating standards of Punjabi movies.
• A particular stratum of audience certainly has an inclination towards art or meaningful cinema.
• Punjabi cinema has a great impact on the lives of its audience.
• The word ‘Jatt’ has a huge impact on Punjabi film audience.

RESEARCH METHODOLOGY
The survey method has been used in this research. This research has been conducted on the audience of Punjabi cinema. The questionnaire has been formulated and survey would be conducted on the same questionnaire. This survey would be conducted in the Jalandhar city of Punjab.
Survey research is one of the most important areas of measurement in applied social research. The broad area of survey research encompasses any measurement procedures that involve asking questions of respondents. A "survey" can be anything forms a short paper-and-pencil feedback form to an intensive one-on-one in-depth interview.
While defining survey research, “A field of applied statistics, survey methodology studies the sampling of individual units from a population and the associated survey data collection techniques, such as questionnaire construction and methods for improving the number and accuracy of responses to surveys.”

QUESTIONNAIRE
The questionnaire had questions related to the content of Punjabi movies. The questions had been asked to the group of Punjabi audience who all are exposed with the same kind of Punjabi movies. The questions would have tested the choice and interest of the Punjabi movie audience.
SAMPLE
The sample of 100 people has been taken. This sample has represented the population of city. The sample had differentiated the audience into age groups. The first group had carried the audience of 18 to 30 years; second group would be comprised audience from 31 to 40 years of age.
Jalandhar Profile
Jalandhar is a city in the north-western India state of Punjab. Jalandhar city is governed by Municipal Corporation which comes under Jalandhar Metropolitan Region. The Jalandhar city is located in Punjab state of India.
The oldest city in Punjab, in recent years it has seen rapid urbanisation and developed into a highly industrialised centre of commercial activity. Jalandhar was the capital of Punjab from India's independence (1947) until Chandigarh was built in 1953. Situated on the Grand Trunk Road, it is a major rail and road junction, and is 144 km northwest of the state capital, Chandigarh. The city was known as Jalandhar in British India.
History
History of Jalandhar District comprises three periods - ancient, medieval and modern. According to the history of Jalandhar District, in ancient time, the district comprised the whole of the Upper Doabas from Ravi River to Sutlej River. According to the Padama Purana, the district takes its name from the demon king Jalandhara. The whole of Punjab and the area of present Jalandhar District was part of the Indus Valley Civilization. Harappa and Mohenjo-daro are the sites where remains of the Indus Valley Civilization have been found extensively. The archaeological explorations made during the recent years have pushed the ancient times of Jalandhar District of Harappa period. Modern history of Jalandhar District also states that Khilafat Movement was started in the district in early 1920 to bring pressure upon British rulers to change their policy towards Turkey. Mahatma Gandhi extended sympathy and support to this movement. Jalandhar District was declared 'Proclaimed Area' under the Seditious meetings Act. After the independence of the country, however the district was affected by communal riots and exodus of minority communities from both sides of the border, consequent upon the partition of the country.
Demographics
As per provisional data of 2011 census Jalandhar had a population of 873,725, of which 463,975 were male and 409,750 female. The literacy rate was 85.46 per cent. Jalandhar is dominated by Scheduled Caste communities, which comprise almost 50 per cent of the population. In education section, total literates in Jalandhar city are 665,625 of which 363,500 are males while 302,125 are females. The sex ratio of Jalandhar city is 882 per 1000 males.
Media Hub
Doordarshan Kendra, Jalandhar is an Indian television station in Jalandhar, owned and operated by state-owned Doordarshan, the television network of Prasar Bharati (Broadcasting Corporation of India). It was established in 1979, and now produces and broadcasts the 24-hour Punjabi language TV channel, DD Punjabi, which was launched in 1998 and covers most of the state of Punjab, India.
The city serves as the region's headquarters for newspapers, national television and radio stations. These include Daily Ajit, Jagbani,Punjab Kesari, Dainik Jagran, Hindustan Times, The Tribune, Dainik Bhaskar, Hind Samachar, etc.
State-owned All India Radio has a local station in Jalandhar which transmits various programs of mass interest. FM Local radio stations include:Radio Mantra 91.9 MHz, BIG FM 92.7 92.7 MHz, 94.3 FM-My Fm- 94.3 MHz, Radio Mirchi 98.3 MHz, All India Radio 102.7 MHz






REFERENCES
1. Anhe Ghore da daan.(May 14, 2015). Retrieved from http://en.wikipedia.org/wiki/Anhe_Ghore_Da_Daan
2. Film and Audience. (n.d). Retrieved from https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=2&cad=rja&uact=8&ved=0CCMQFjAB&url=http%3A%2F%2Fwww.medienabc.org%2Fpage32%2Ffiles%2Fpage32_6.pdf.
3. Jalandhar. (May 8, 2015). Retrieved from http://en.wikipedia.org/wiki/Jalandhar#Media
4. Marhi Da Deeva (1989 Film). (2014). Retrieved From  http://En.Wikipedia.Org/Wiki/Marhi_Da_Deeva_%281989_Film%29
5. Nightingale Virginia. Media Audiences -Media Products. Retrieved from https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&cad=rja&uact=8&ved=0CCoQFjAC&url=https%3A%2F%2Fhumanities.curtin.edu.au%2Fschools%2FMCCA%2Fccs%2FAJCS_journal%2FJ2V1%2FJ2V1Media%2520Audiences%2520-%2520Media%2520Products.html
6. (October 20, 2006). Survey research. Retrieved from http://www.socialresearchmethods.net/kb/survey.php.
7. Reiffenstein Kathy. (2009). In Presentations, Audiences Have Responsibilities Too. Retrieved from https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0CB0QFjAA&url=http%3A%2F%2Fandnowpresenting.typepad.com%2Fprofessionally_speaking%2F2009%2F09%2Fin-presentations-audiences-have-responsibilities-too.html
8. Singh Sewa. (2012). A critical study of various phases of thematic changes in Punjabi cinema since its inception. Retrieved from https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=2&cad=rja&uact=8&ved=0CCgQFjAB&url=http%3A%2F%2Fshodhganga.inflibnet.ac.in%3A8080%2Fjspui%2Fbitstream%2F10603%2F10672%2F10%2F10_chapter%25204.pdf

9. Survey methodology. (May 5, 2015). Retrieved from  http://en.wikipedia.org/wiki/Survey_methodology

10. The Film Industry and Audiences. Retrieved from https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&cad=rja&uact=8&ved=0CCkQFjAC&url=http%3A%2F%2Fwww.filmreference.com%2Fencyclopedia%2FRomantic-Comedy-Yugoslavia%2FSpectatorship-and-Audiences-THE-FILM-INDUSTRY-AND-AUDIENCES.html.


.

CHAPTER-2

REVIEW

 OF 

LITERATURE

REVIEW OF LITERATURE
Review of literature strives to assess the critical points of current knowledge including
Substantive findings and contributions available about a particular topic. It is a brief summary of the recognized facts and information about a given subject.  It brings forth the justification of the reason for research.  The researcher tries to convince the importance and benefits of topic under study. It underlines the researcher’s thorough and deep connection to the field of study and becomes the basis for the entire thesis or dissertation. As no previous research work exists in the field of Punjabi films so the efforts have been made to assess the studies available on Indian Cinema.

In an interview with Business Today, Anurag Singh, a Punjabi film director quoted that "In days to come, we can expect some of the non-serious players to make way for more serious players to get into the fray. But good movies will rule." In this statement, Anurag singh indirectly analyzed this Punjabi cinema and he has praised the work of good Punjabi movie producers. He shows his concern towards destroying situation of Punjabi cinema.

Vivek Rangachari, Director, DAR Motion Pictures in an interview with Business Today said  ,"We are evaluating Bengali and Punjabi movies, but only in the second half of 2014 something concrete may come up, Right now Punjabi movies are doing well and people are putting in money in similar products. But, we want to be sure that this is not a bubble and has a sustainable future before committing ourselves into this." In this statement, vivek rangachari has raised the eyebrows while pointing out the current growth of the Punjabi cinema. he compares the growth of Punjabi cinema with Bengali cinema .

Bald, Suresht in Globalization and Bollywood: Indian Cinema and Globalization of
Indian Imagination states that the Hindi cinema of the post liberalization era differs drastically from the post independence in its portrayal of the protaganists' fantasies. The paper puts forward the fact that the audience is privy to these fantasies as the hero and heroine sing and imgine the good life they would like to lead together. The songs attempt to endow with the opportunity to the audience to watch famous Indian monuments, landmarks that traverse the geographical countryside of India.
 Om Puri, a veteran actor in Hindustan times said, “20% of Punjabi movies are meaningful.” Om puri directly made accusation on Punjabi cinema content.he consider the weakest point of Punjabi cinema.

 An article in The Tribune opines that comedy reached its saturation point in 2014. Punjabi industry is all set to chum out issue –based meaningful cinema in 2015.

In an interview with Mukesh Sharma, a director in Punjabi Filmi Adda.com said, “Producing a film is a risky job, if something with the film goes wrong, it is the producer who has to eventually bear the brunt, because in the end it is the producer who has invested money,” mukesh Sharma is a director and he discuss about the risky factors of producing Punjabi cinema.

Raminder Kaur & Ajay J. Sinha’s book Bollywood is a critique of common scholarly tendency in the field of popular cinema of defining Indian films in terms of their modernity and desire for nationhood. It emphasizes the Bollyworld argument that Indian cinema cannot be understood in terms of the national paradigms. It is a collection of twelve essays penned by different scholars.These essays endeavour to track the international and trans-national movements of Bollywood cinema.The book is divided into three sections. While the first section discusses the technology and aesthetics of India's commercial cinema, the second section studies these films as different manifestations of globalization and highlights the changes in post-liberalization period of Indian cinema. The third section focuses on the overseas reception of Indian films in the light of economic liberalization, multiculturalism and a strong voice of migrant Indian populations. The book deals with the depiction of Nala-Damayanti, Ram-Sita, Shiva Ashirwel, Bharat-Janam etc. in the earlier films of Bollywood. The book states that lavish costumes, the increasing exotic locales and the presence of a huge production infrastructure make the song sequence the cinematographer’s domain. It also throws a flood of light on some famous dance sequences of hit Bollywood songs.




Subhajit Ghosh in Significant Women Roles in Indian Cinema opines that innovative women roles in mainstream Indian cinema are few and far between. However some directors have depicted some hunky characters.Ghosh cites the examples of many women-oriented films like Achchyut Kanya, Biraj Bou, Parineeta, Devdas,
Abhiman,Guddi, Abhimaan, Mili, Khubsuroot, Majhli Didi, Khubsuroot ,Griha Pravesh, Prem Rog ,Triyacharittar etc. While Achchyut Kanya depicted the theme of
untouchability, Biraj Bou was based on a selfless woman who endures hardships and untold sufferings for the sake of her husband. Abhiman is the portrayal of the ego clashes of a musical talented wife and her husband. Triyacharittar portrays the exploitation of women. Majhli Didi is about a woman's empathy towards an orphaned child.While Griha Pravesh deals with the obsession of a married man for a much younger office colleague; Prem Rog is a forceful portrail of the agony of a young widow.

In an interview with Sunny Gill, IFFSA/PIFF founder and President in Punjabi Filmi Adda.com it has come out,"We are thrilled to kick off Punjabi International Film Festival - PIFF 2015 which is part of IFFSA (International Film Festival of South Asia) with the screening of QISSA PUNJAB, and host both the producer Annu Bains and Director Jatinder Mauhar at the festival”.

Amardeep singh Gill, Producer, Writer in an interview has quoted “Audience and maker both are wrong. Audience are more wrong because they watch these movies and make them successful. After the success film makers again and again make movies like this. Today, a film with a social message becomes flop and pictures with no reality become a hit. So audience should not watch like this.”

Dasgupta, Shamita Das in a research paper Feminist consciousness in woman-centred Hindi films claims that the Hindi film industry adheres to the ideals of chaste and acquiescent womanhood.This study is based on a survey of Hindi films made between 1975 and 1990. Published in Journal of Popular Culture it further reveals that normally lower class women are portrayed as suffering corporal violence and exploitation at the hands of men folk. On the other hand upper class women are depicted as victim of psychological trauma. Hindi films are fundamentally cynical about the freedom and equality of women.The study states that women in Hindi films ultimately capitulate to the desires of their husbands. Chadha, Kalyani of the University of Maryland writes in The Muslim as Other in Hindi Cinema: Exoticized, Marginalized and demonized that though India boasts of being the epitome of unity in diversity, Hindi films usually resists on Hindu-Muslim separatism. She states that the depiction of Muslims in Hindi films has received petite attention. The paper traces the portrayal of Muslims within mainstream Hindi films from the 1950s to the current period. She concludes that Muslims have been variously "othered" through their exoticization, marginalization, and their demonization in Hindi films.

Gopalan, Lalitha of Georgetown University in her paper entitled Projecting the past concedes that there is growing fascination with the past in a spate of recent Indian films and videos. She states that it is a way of understanding the different approaches of writing history that surpasses the age-old dominant genre of costume drama for evoking the history.

Dass, Manishita, a visiting Assistant Professor in the Film and Media Studies Program at Swarthmore College, in her paper Myths of Origin: Modernity and Early Indian Cinema says that the mythological stories dominated the Indian cinema in the beginning. Its astonishing popularity is attributed to its capability to appeal to the spiritual sensibility of devoted audience. She argues that the mythological movies fascinated the modern within discourses of the traditional and have redefined the traditional through a distinctly modern aesthetic. Mehta, Monika in her paper An Anomalous Case: The Censorship of the Self Sacrificial Woman describes that even though an ordinary film by Hindi cinema standards, Pati Parmeshwar is a glitch in the history of Indian censorship. She says that various examining committees have commonly employed the rule stating “scenes degrading or denigrating women in any manner are not presented” to cut sexually overt scenes, including close-ups of bosoms, thighs, gyrating hips. However, in Pati Parmeshwar, the examining committee used this rule to ban a film. This inconsistent step and its ensuing consequences reveal the ambivalent nature of the Censorship board. Shey states that at first the reviewing committee supported the examining committee’s verdict.  When it was challenged, the Bombay High Court overruled this decision and granted the producer the permission to release the film.  This paper suggests how the female body becomes the site for debates on tradition and modernity.

Joshi, Priya an Associate Professor of English at Temple University, in her paper Knocking on Heaven's Door states that front pages of foremost Soviet newspapers splashed lengthy obituaries in 1988 when Raj Kapoor died.She says that while Bollywood blockbusters have taught Soviet youth to suppurate for gorgeous Nargis and Egyptian traditionalists to crave for Dimple Kapadia's profuse thighs, these films could not put any influence upon the US audience.  This paper argues that Bollywood's mammoth success in the subcontinent explains why it has not succeeded in penetrating the US. Because popular cinema is deeply devoted in the preoccupations of its domestic audience, it can travel only as far as those preoccupations exist. She furthes suggests that Bollywood has penetrated the nations where modernity competes with convention, where urban and rural community commingle in uneasy proximity and where underdevelopment yearns for development. The paper laments that Bollywood's appeal in the US is marginal due to its on targeting the interests and preoccupations of its domestic audience.  It is the greatest obstacle to its absorption by multiplex audiences in the US.  The paper concludes that unless and until Indian Cinema shuns its off repeated formula films, it will never be able to make inroads in the US.  Malhotra, Sheena & Alagh, Tavishi in their paper Dreaming The Nation: Domestic Dramas In Hindi Films Post-1990 published in South Asian Popular Culture write that Hindi cinema has functioned as a site for the production of national identities and ideologies. They cite the examples of some of the most successful films of the 1990s e.g. Hum Aapke Hain Kaun, Dilwale Dulhaniya Le Jayenge, Pardes, Kuch Kuch Hota Hai, etc.These films divulge the emergence of the domestic drama in Hindi films. The success of these films has significantly lessened the diversity, multiplicity and secular constructions of Indian identities.  They argue that this trend reflects the significant sociopolitical and economic changes that have taken place in India during this time. At times the minorities find themselves expelled and progressively erased from this landscape.

Johal, Navjeet in his write up Punjabi Diaspora Ate Filma published in a book entitled
Punjabi Diaspora published by Punjabi University Patiala in 2007 laments that unlike
Bengali, Malyalam and Kannada films no Punjabi film could win the coveted National Prize till date. He gives passing references of Green Revolution, Terrorism and invasion of Cable- Satellite Television revolution as some factors which had a great impact on Punjabi Cinema. He asserts that the lack of established film industry, shortage of technicians, and small size of Punjabi film viewers, hesisant investment and scarcity of full time film producers in Punjab are the factors behind the lethargic pace of Punjabi Cinema. The advent of diasporic movies like Jee Aaya Nu, Asa Nu Maan Watna Da and Des Hoya Pardes seems to assure him of bright future beckoning Punjabi Cinema. He makes a vehement appeal for ‘creative freedom’ so that Punjabi Cinema can develop on the lines of South Indian Cinema.

Noor, Satinder Singh in his write up Punjabi Diaspora published in a book entitled
Punjabi Diaspora published by Punjabi University Patiala in 2007 regards diaspora as a smoldering subject matter. He traces the roots of diaspora to the exodus of Jews. He says that this word has evolved socio-cultural connotations for those living abroad. He discusses at length the causes of Punjabi people settling abroad. He makes a distinction between Punjabi Diaspora and Sikh Diaspora. He regrets that the Western Feminism has propagated the seeds of despotic revolution amongst Punjabi women folk which has resulted in disintegration of families and created new diasporic predicaments. Monaco, James in his book How To Read A Film discusses at length about the film, fundamentals of photography and the synthesis of film and theatre. He traces the history of film and writes in detail about the New Wave Cinema including the Japanese, Swedish and French cinema. Later on he mentions about the salient features of the theories of Bazin, Godard, Munsterberg and Metz. Writing about the media of Mass Communication, he states that American companies have completely dominated the World market from 1920 onwards.

Gurinder singh, director of Anhe Ghore da Daan, in an interview in sikhchic.com said that “Even if they don't have famous names, they leave a mark. Here, the director is the star”. Here Gurinder Singh motivates the direction of the art movies.

An interview with Smeep Kang in Breaking Bollywood said that, “If we compare the collections of Gippy Grewal starrer with Harish Verma starrer, then it is obvious that Gippy is a clear winner. No doubt, we have versatile actors like Jimmy Shergill, but audience is not accepting versatility, they demands just senseless script. Secondly, singers cum actors are the reasons behind the hit music album of every film”.

Manmohan singh in ‘A Renaissance in Punjabi Cinema’ said that, "We can call this the renaissance period of Punjabi cinema. Everything is getting rejuvenated here. People have also started taking Punjabi cinema more seriously. Earlier Bollywood stars did Punjabi movies in their free time or just as a pastime. But today we have talented actors like Harbhajan Singh Mann, who have made Punjabi movies their priority and are working hard to the support the industry”. Manmohan singh here, motivates the audience and the producers too, while telling the rebirth of the Punjabi cinema after a leap of years .

Singh, Sukhvir in Samajik Sedh Te Punjabi Cinema published in Punjabi Tribune on
August 21, 2010 regards Cinema as a platform where language, culture, acting, and social repute combine together to impress the masses. He regards Jee Aaya Nu as a path breaking film that revolutionized Punjabi Cinema. This film depicted human relations in the light of the difference between Oriental and Occidental cultures. He further regards Babbu Maan’s Ekam as a realistic film that described common man, peasants, labourers, environment, politics, social evils and relations in a realistic way.

Kaur, Davi Davinder in her article Punjabi Filma Da Sirtaz Filmsaz-Manmohan Singh published in Punjabi Tribune on September 25,2010 throws a flood of light on the life, education and struggle of Manmohan Singh who opines that the NRIs have started believing Punjab to be a worth living place. He regrets the low intellectual level of the Punjabi audience which discourages films on serious issues including corruption and politics. He regards a solid screenplay a must for the production of a good film. He demands Punjab Government to implement Anti Piracy Act on the lines of Southern states. He vehemently opines that Punjabi Cinema can only march forward from here onwards.

In an article, ‘a renaissance on Punjabi cinema’ Navjot singh said that "Movies like Singh is King where the main protagonist is a Sikh guy will certainly boost their image on the big screen. Now it is the time of Punjabis and Punjabi cinema to rule this world."

The Hindu in its Dec. 09, 2006 edition published a news story The Punjabi Connection in which it narrates how imperceptibly Waris Shah gained recognition across the world and how it made it to the Oscars general category. It stars Juhi Chawla along with Gurdas Maan and Divya Dutta. The untimely demise of its young director- Manoj Punj took the sheen away. The news story further quotes Juhi describing this film as a turning point for the whole length and breadth of regional cinema in India.

News Track India published a story on 14th Nov., 2008 under the title Punjabi Music taking Punjabiat to places through Bollywood opined that Punjabi music has enthralled and mesmerized huge number of fans beyond Punjab. It is also creating great influence in Bollywood films. Almost every other film is carrying a Punjabi number.  The popularity of Singh is King through its song ‘Jee Karda’ has doubled the demand for Punjabi songs amongst the Indian audience.
Anurag singh, a director in an interview said that, “our first concern is whether it is a good story and whether it is something we will enjoy doing. Once we are satisfied about this, we just go ahead and give it our best shot without thinking about how the audience will respond.”










REFERENCES

1. Amardeep Gill talks about 'Sutta Naag' and the inspiration behind. (May 15, 2015) . Retrieved from http://www.yespunjab.com/entertainment/item/23113-amardeep-gill-talks-about-sutta-naag-and-the-inspiration-behind.

2. Bajwa. seva singh .(2012) . A critical study of various phases of thematic changes in Punjabi cinema since its inception. Retrieved from https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=2&cad=rja&uact=8&ved=0CCgQFjAB&url=http%3A%2F%2Fshodhganga.inflibnet.ac.in%3A8080%2Fjspui%2Fbitstream%2F10603%2F10672%2F10%2F10_chapter%25204.pdf
3. Bedi Anisha . (February, 21, 2015) . 'Only 20 % of Punjabi movies meaningful’. Retrieved from http://www.hindustantimes.com/chandigarh/only-20-of-punjabi-movies-meaningful/article1-1319117.aspx
4. Mahajan Anilesh S. (April, 9 2014). The coming age of Punjabi cinema. Retrieved from https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&cad=rja&uact=8&ved=0CC0QFjAC&url=http%3A%2F%2Fbusinesstoday.intoday.in%2Fstory%2Fthe-coming-of-age-of-punjabi-cinema%2F1%2F205030.html.

5. Mukesh Sharma come back with 'Oh Yaara ainvayi ainvayi lutt gaya http://www.punjabifilmiadda.com/news/Mukesh+Sharma+come+back+with+'Oh+Yaara+ainvayi+ainvayi+lutt+gaya'.html

6. Prince. (December 9, 2013. Breaking Bollywood`s interaction with director Smeep Kang. Retrieved from http://breakingbollywood.blogspot.in/2013/12/breaking-bollywoods-interaction-with.html


7. Sandhu Singh Rameshinder.( 26, September, 2013).indian premier of ‘Nooran’ held. Retrieved from http://www.hindustantimes.com/amritsar/indian-premier-of-nooran-held/article1-1127534.aspx
8. Singh, Er. (n.d). Exclusive Interview of Famous Lyricist, Writer, Producer, Director Amardeep Singh Gill. Retrieved from http://www.punjabupfilms.in/exclusive-interview-of-famous-lyricist-writer-producer-director-amardeep-singh-gill/

9. Sharma, Akilesh. (July 25, 2010). A renaissance of Punjabi cinema. Retrieved from http://www.sikhchic.com/film_stage/a_renaissance_in_punjabi_cinema.

10. Sharma, Sarika. (April 17, 2015).The Fourth Direction - Chauthi Koot: Gurvinder Singh’s Punjabi Film On 1984 Goes To Cannes Film Festival. Retrieved from http://www.sikhchic.com/1984/the_fourth_direction_chauthi_koot_gurvinder_singhs_punjabi_film_on_1984_goes_to_cannes_film_festival.

11. Srivastava Nishant.(n.d).list of best Punjabi movies of all time. Retrieved from https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=4&cad=rja&uact=8&ved=0CDMQFjAD&url=http%3A%2F%2Fwww.filmykeeday.com%2Fbest-punjabi-movies%2F.


12. Vision punjab. ( May 31, 2014). An exclusive interview with Anurag Singh.  Retrieved from http://punjabvision.com/interviews/exclusive-interview-with-anurag-singh.

CHAPTER-3

HISTORY OF PUNJABI CINEMA

HISTORY OF PUNJABI CINEMA
The Indian civilization commences with the footsteps of Harappan and Mohanjodaro concepts. There are decedents of different creeds. While some approached from Central Asia others from Greece, Mongolia, Afghanistan and Great Britain. While Carrying this mixture, India became a country where hundreds of languages are spoken in thousands dialects. That’s the reason of change in dialects in every 20 kilometres can be seen in the country or in every state. Every language has its monopoly and influence in geographical area.
 Punjab has many dialects such as Majhi, Malwai, Doabi, Puadhi, Multani, Jhangi and Pothohari etc. After partition of India and Pakistan, Punjabi continues to be the language of Punjab on both sides of the border. The only difference is in the scripts was Punjabi in Pakistan is written in Shamukhi script 46 from right to left, Punjabi in Indian Punjab is written in Gurumukhi script from right to left.
The Punjabi language is full of superiority and has given the beautiful and enormous literature to the history. It is Punjabi that competes with Urdu in the realm of Ghazals and Qwalies. Its wealthy imaginary tale endowed with a rich platform for the blooming Cinema in the state.
The first ever Indian talkie ‘Alam Ara’ was produced by Ardeshir Irani in 1931; it took just four years for the Punjabis to follow the new form of art. Stated as the birth of Punjabi cinema, the efforts of producing a Punjabi film started in 1934, with the films like ‘Heer Ranjha’, ‘Mirza’. ‘Heer Ranjha’ featured Anwari, Walaiti Begum, Rafiq Ghajnavi, Gul Hamid, M. Isamail Fazal Shah and Lala Yakub. But it was never released.
The actual start up of the Punjabi cinema can be noted with the work of K.D. Mehra who made the first Punjabi film ‘Sheila-Pind Di Kudi’ and it was a super hit. Baby Noor Jehan made her debut as an actress and singer in this film. Its success boost up other producers for making films in Punjabi language. K.D. Mehra united with M.M. Billoo to make his second film ‘Heer Sial’.
In 1939, the films like ‘Puran Bhagat’, ‘Mirza Sahiban’, ‘Surdas’ and ‘Mera Punjab’ were released. The actress Zubeida made her debut in ‘Mirza Sahiban’. Other films made in this year include ‘Yamla Jatt’, ‘Matwali Meera’, ‘Laila Majnu’, ‘Alibaba’, ‘Jagga Daku’, ‘Ik Musafir’ and ‘Dulla Bhatti’. Totally, there were seven releases in 1941. In 1942 films like ‘Ravi Paar’, ‘Patwari’, ‘Pattola’, ‘Mangti’ and ‘Gowandhi’ were released. ‘Mangti’ was a hit film of the year.
After the partition of India, it took a while to mend the Punjabi cinema to his ways. In 1950, a comedy ‘Posti’ starring Moti Sood , Majnu was released and was a super hit. ‘Posti’ had other actors like Shyama, Manorama, Amarnath, Randhir, Majnu, Ramesh Thakur, Bhag Singh and Chand Burque also. The Other films made in this year were ‘Phere’, ‘Mutiyar’ , ‘Chhai’, ‘Bhaiyya Ji’ and ‘Madari’. ‘Phooman’, ‘Balo’, ‘Baisakhi’ came in 1951; ‘Jugni’, ‘Laralappa’, ‘Koday Shah’ released in 1952; ‘Vanjara’, ‘Shah Ji’, ‘Ashtali’ came in 1954; ‘Pingan’, ‘Muklawa’, ‘Hulare’ in 1957; ‘Nikki’ came in 1958 and ‘Jagga Daku’ and ‘Bhangra’ were released in 1959. The drift of comedy films was constant with movies like Mulkh Raj Bhakhri’s ‘Bhangra’ (1958) starring Sundar and Nishi was a super hit film which was remade by Mohan Bhakhri as ‘Jatti’ in 1980 with Mehar Mittal and Aparna Chowdhry, which in turn was again a great commercial success.
In 1962, films like ‘Pardesi Dhola’, ‘Dhol Jani’, ‘Chann Mahi’ and ‘Khedan De Din Char’ were released. Prem Chopra entertained the Punjabi audience in 1963 with ‘Sapni’ and ‘Eh Dharti Punjab Di’. ‘Satluj De Kande’ of Balraj Sahni, ‘Kiklee’ of Jagdish Sethi, Madan Puri, Tun Tun, Indira, Madhumati & Gopal Sehgal; ‘Main Jatti Punjab Di’ of Nishi & Premnath; ‘Satt Saliyan’ of Indira Billi, Ravinder Kapoor, Gopal Sehgal, Majnu, Indira Bansal, Swarn Dada & Raj Rani, and ‘Jagga’ of Dara Singh & Indira were  triumphant films. ‘Satluj De Kunde’ was the first Punjabi film by Balraj Sahni and it was a super hit and it also won a National Award.
The first colour movie in Punjabi language ‘Nanak Naam Jahaz Hai’ was released. It was directed by Ram Maheshwari, it had Prithvi Raj Kapoor, Vimi, Somdutt, Nishi, Suresh, Veena, Tiwari, Jagdish Raj, I.S. Johar & David in its star cast. ‘Kankan De Ole’ was released in 1970 starring Dharmendra, Asha Parekh and Ravindra Kapoor and ‘Nanak Dukhiya Sab Sansar’ starring Dara Singh, Balraj Sahni, Ram Mohan & Asha Sachdev. ‘Mann Jeete Jag Jeet’ was released in 1973. ‘Dukh Bhanjan Tera’ Naam turned out to be the best of all. It was a religious-historical film and it had many special appearances from Bollywood superstars like Sunil Dutt, Rajendra Kumar, Dharmendra, Johnny Walker and Dara Singh etc. These all were religious movies.
 ‘Teri Meri Ek Jindri’ was released in 1975, starring Veerendra. Films like ‘Daaj’, ‘Giddha’, ‘Main Papi Tum Bakhshanhaar’, ‘Papi Tarey Anek’, ‘Santo Banto’, ‘Sardar-E-Azam’, ‘Sawa Lakh Se Ek Ladaun’, ‘Taakra’, ‘Yamla Jatt’ were released in 1976. ‘Sawa Lakh Se Ek Ladaun’, ‘Giddha’, ‘Main Papi Tum Bakhshanhaar’ and ‘Santo Banto’ had remarkable star-cast themes. In 1978, films like ‘Udeekan’, ‘Dhyanu Bhagat’, ‘Jai Mata Sheranwali’, ‘Jindri Yar Di’ were also seeing the light of the day. ‘Udeekan’ proved to be a super hit film at the Box Office. ‘Walayati Babu’ was the first ever remake in Punjabi cinema and was released in 1978. It was the remake of an older Punjabi film with the same name by Johnny Walker. In 1979, movies like ‘Guru Manio Granth’, ‘Jatt Punjabi’, ‘Kunwara Mama’, ‘Sukhi Pariwar’, ‘Til Til Da lekha’ were released. In the same year the first-ever Punjabi mystery film ‘Vangaar’ was released.
In 1980, ‘Chann Pardesi’ was released. Directed by Ravinder Peepat, it starred Raj Babbar, Rama Vij, Amrish Puri, Om Puri and Kulbhusun Kharbanda. It became the first Punjabi film to achieve the popular National Award for the Best Film in Regional Language. As garlanded in Cinema of India ‘Gori Diyan Jhanjharan’ of Dheeraj Kumar, Satish Kaul, Bhawna Bhatt, Arpana Chaudhry, Tun tun & Mehar Mittal, ‘Lambhardarni’ of Dara Singh, Veerendra, Aruna Irani, Mehar Mittal & Surinder Sharma and ‘Sardara Kartara’ of Veerendra, Arpana Chaudhry, Yash Sharma, Sudha Chopra & Mehar Mittal were also notable films of 1981. Veerendra’s ‘Balbiro Bhabhi’ was the only hit film released in 1981. ‘Do Posti’ did good business as a comedy. In 1982, two major movies namely ‘Ucha Dar Babe Nanak Da’ and ‘Sarpanch’ were released. Gurdar Maan made his debut in ‘Ucha Dar Babe Nanak Da’ had Tanuja, Preeti Sapru, Kalbhooshan Kharbanda, Aruna Irani, Nirmal Rishi, Shammi, Girija Shankar, Yash Sharma & Surinder Shinda as co stars.
An extremely romantic film ‘Mamla Garbar Hai’ of Daljit Kaur, Gurdas Mann, Mehar Mittal, Ram Mohan & Yash Sharma; ‘Batwara’ of Veerendra, Diljit Kaur & Yograj Singh; ‘Aasra Pyaar Da’ of Raj Babbar, Preeti Sapru, Kiron Kher & Navin Nischol; ‘Vohti Hath Soti’ of Satish Kaul & Rama Vij and ‘Jatt Soormey’ of Veerendra, Preeti Sapru & Mehar Mittal also delighted the audience. ‘Sassi Punnu’ of Satish Kaul, Bhavna Bhatt, Manmohan Krishan, Sudha Chopra, Nazir Hussain, V. Suri, Kanchan Mattu, Rajinder Nath & Mehar Mittal was hit more for its songs than anything else.The year 1985 witnessed the release of two major films. One of these films ‘Guddo’ with star cast of Rama Vij, Mohd. Sadiq, Sudha Chopra, Yash Sharma & Kanchan Mattu was produced by Mohammad Sadiq while ‘Vairi’ with star cast of Daljit Kaur, Benjamin Gilani, Shabnam Kapoor & Yash Sharma was produed and directed by Veerendra.
 In 1989, ‘Marhi Da Diva’ directed by Surinder Singh of FTII, won National Award for the best Punjabi film in Regional Cinema. Its star cast had Raj Babbar, Deepti Naval, Kanwaljeet, Pankaj Kapoor, Parikshit Sahni and Asha Sharma. In 1991, ‘Anakh Jattan Di’ starring Diljit Kaur and Gugu Gill was released. It was the first movie where the public really accepted ex-villain Guggu Gill as a hero. It gave a new fillip to the element of ‘Jattism’ in Punjabi movies. The film was followed by films like ‘Jor Jatt Da’ in the star cast of Guggu Gill, Yograj Singh and ‘Taakre Jattan De’ in the star cast of Pankaj Dheer, Arjun, and Deep Dhillon. Both flopped. But it was ‘Badla Jatti’ Da which turned out to be a major success of the year. It starred Guggu Gill, Yograj Singh (in a villain role) Sunita Dheer, Aman Noorie, Upasna Singh & Surinder Sharma. ‘Jatt Jeona Morh’ turned out to be major hit of the year and established Guggu Gill as a superstar in Punjwood.
In 1994, Gurdas Mann and Yograj Singh joined together in ‘Kachehri’ which not only got critical acclaim but also commercial success. Later it went on to win the National Award. In 1997, the release of films like ‘Mela’ starred Amar Noori, Girija Shankar, ‘Truck Driver’ starred Preeti Sapru, Guggu Gill, ‘Sardari’ with starcast of Dara Singh, Guggu Gill and Pankaj Dhir .
Jaspal Bhatti made his debut in Punjabi cinema with ‘Mahaul Theek Hai’ in 1998. Based on various modes of corruption in Punjab Police, it became an instant hit. It was the first big hit after films like ‘Jatt Jeona Morh’ & ‘Badla Jatti Da’. Raj Babbar's ‘Shaheed Udham Singh’ was the last release of 1999. It was released in the last week of the year. After that in the year 2000 very few films were released.
In 2003, the release of ‘Jee Ayan Nu’ gave a new life to the dying Punjabi cinema. It was the debut film of singer-turned actor Harbhajan Mann and it was directed by cinematographer-turned director Manmohan Singh. Its star cast consisted of Harbhajan Maan, Priya Gill, Diljeet Kaur, Kanwaljeet, Kimi Verma, Deep Dhillon, Satinder Satti, Navneet Nishan & Vivek Shauq. Then in 2004, again, singer-turned actor Harbhajan Mann acted in ‘Asa Nu Maan Watna Da’ and it was directed by Manmohan Singh. Apart from Harbhajan Maan, it boasted of actors like Kimi Verma, Neeru Bajwa, Kanwaljeet Singh, Deep Dhillon, Navneet Nishan, Gurpreet Ghuggi, Vivek Shauq & Sukhwinder Sukhi.
 In 2005 films like ‘Jija Ji’, ‘Des Hoyaa Pardes’, ‘Main Tu Assi Tussi’, ‘Yaaran Naal Baharan’, ‘Nalaik’ etc. were released. Gurdas Mann sprang a surprise with his ‘Des Hoya Pardes’. ‘Yaaran Naal Baharan’ with starcast of Raj Babbar,Jimmy Shergill,Juhi Babbar,Anupam Kher,Sunita Dhir & Gurpreet Ghuggi and Nalayak with starcast of Bobby Deol, Guggu Gill,Vivek Shauq, Jaspal Bhatti & Gurpreet Ghuggi stand nowhere near the resounding success of ‘Des Hoya Pardes’.The year 2006 saw movies like ‘Dil Apna Punjabi’, ‘Ek Jind Ek Jaan’ and ‘Waris Shah- Ishq Daa Warris’. Notable among them were Heaven On Earth with star cast of Preity Zinta, Vansh Bhardwaj , ‘Hashar’  of Babbu Mann& Gurleen Chopra, ‘Mera Pind’ of Harbhajan Mann, Kimi Verma& Navjot Singh Sidhu , ‘Lakh Pardesi Hoiye’ with star cast Gracy Singh, Rajat Bedi, Kulbhooshan Kharbanda, ‘Majaajan’ of Gavie Chahal & Sunny Cheema, ‘Babal Da Vehra’ with starcast of Malkiat Singh, Yograj Singh, and ‘Punjab’ of Bunty Singh& Gavie Chahal. ‘Mera Pind-My Home’ impressed upon youth not to shirk work and do what they love to do abroad.
 With the exception of Manmohan Singh’s ‘Jag Jeondeyan De Mele’ with starcast of Harbhajan Mann, Tulip Joshi and ‘Tera Mera Ki Rishta’ starring Jimmy Shergill, Kulraj Randhawa, Anupam Kher no other movie could make any tangible impression. ‘Mini Punjab’ of Gurdas Maan, ‘Virsa’ of Arya Babbar, Gulshan Grover, all flopped badly. Manmohan Singh’s ‘Munde U.K. De’ with starcast of Jimmy Shergill, Neeru Bajwa and Amrinder Gill was the biggest earner of all the Punjabi films released in the year.
 In 2010 films like ‘Mitti’, ‘Sukhmani – Hope for Life’, ‘Jawani Zindabaad’, ‘Lad Gaya Pecha’, ‘Ekam – Son of Soil’, ‘Virsa’, ‘Panjaban’, ‘Mel Karade Rabba’, ‘Channa Sachi Muchi’, ‘Chak Jawana’, ‘Ik Kudi Punjab Di’, ‘Tere Ishq Nachaya’, ‘Rabba Mainu Pyaar Ho Gaya’, ‘Kabaddi Ik Mohabbat’, ‘Mar Jawan Gur Khake’ and ‘Simran’ were released. Out of these ‘Mel Karade Rabba’ of Jimmy Shergill, Gippy Grewal, Neeru Bajwa, Sunita Dheer & Jaswinder Bhalla and ‘Chak Jawana’ of Gurdas Mann and Rana Ranbir could achieve moderate success. Three films namely ‘Ek Noor’, ‘The Lion of Punjab’ and ‘Dharti’ have been released in 2011, ‘The Lion of Punjab’ has flopped to provide wholesome entertainment or even convey any message, the shine ‘Ek Noor’ proved to be short lived.
In 2012, ‘Sadi Gali Aaya Karo’, a  Romance, Drama and Comedy directed by Sunil and with the star cast of Anuj Puri, Zoya, Harpal Singh, Nav Bajwa, Priyanka, Razia Sukhbir , ‘Munde Patiale De’ directed By Mohan Sharma,  ‘Dil Tainu Karda Ae Pyar’ directed By Ajay Pannalal, ‘Power Cut’ by Jaspal Bhatti, ‘Burrraah’ directed by Hemant Sagar Sharma, ‘Saadi Wakhri Hai Shaan' by Gurbir Singh Grewal , ‘Pinky Moge Wali’ directed by Vikram Dhillon , ‘Ajj De Ranjhe’ directed by Manmohan Singh,  ‘Raula Pe Gaya’ directed by Aarthav Baluja, ‘Yaar Pardesi’ by Gurbir Singh Grewal , ‘Anhey Ghorre Da Daan’ directed by Gurvinder Singh; Sirphire by Harjit Singh Ricky were released. ‘Anhey Ghorre Da Daan’ was critically acclaimed.
In the same year, ‘Carry on Jatta’ directed by Smeep Kang; ‘Jatt & Julliet’  directed by Anurag Singh; ‘Desi Romeos’ ,’Kabbadi- once again’, ‘Rahe Chardi kala Punjab di’, ‘Appa Pher Milange’, ‘Taur Mittran Di’, ‘Mirza- an untold story’ , ‘Pata Nahi Rabb Kehdeyan Rangan Ch Raazi’ , ‘Rehmataan’,’ Pure Punjabi’ were also released.
In 2013, ‘Bhaji in Problem’, ‘Tere Te Dil Sadda Lutteya Gaya’, ‘Ishq Garaari’, ‘Heer and Hero’,  ‘RSVP - Ronde Saare Viah Picho’, ‘Nabar’, ‘Young Malang’, ‘Haani’, ‘Jatt Boys- Putt Jattan De’, ‘Jatt Airways’, ‘Best of Luck’, ‘Jatt & Juliet 2’, ‘Jatts In Golmaal’, ‘Lucky Di Unlucky Story’, ‘Dady Cool Munde Fool’, ‘Sadda Haq’, ‘Pooja... Kiven Aa..???’, ‘Tu Mera 22 Main Tera 22’,  were the movies released . This year was moderate for Punjabi cinema.
In the year of 2014, ‘Proper Patola’, ‘Happy Go Lucky’, ‘Chaar Sahibzaade’, ‘Yoddha- The Warrior’, ‘Goreyan Nu Daffa Karo’, ‘Control Bhaji Control’, ‘Aa Gaye Munde U.K. De’, ‘Yaaran Da Katchup’, ‘Punjab 1984’, ‘47 to 84’, ‘Jatt James Bond’, ‘Disco Singh’, ‘Mr & Mrs 420’, ‘Ishq Brandy’, ‘Patiala Dreamz’, ‘Bade Changey Ne Mere Yaar Kaminey’ were released. This year of Punjabi cinema came up with movies of romantic, comedy and some serious drama too. These movies bagged many awards too.
Presently, the year of 2015 has took the Punjabi cinema to a new realm where romantic comedies trend is decreasing  and the favouritism of real serious drama can be seen in audience. The movies like ‘Blood Street’, ‘Singh Of Festival’, ‘Jatt Pardesi’, ‘Gaddar : The Traitor’, ‘Mitti Na Pharol Jogiya’, ‘Patta Patta Singhan Da Vairi: When Evreything Is Against You’, ‘Nanak Shah Fakir’, ‘Kudessan’, ‘Qissa’, ‘Eh Janam Tumhare Lekhe’ were already released and many more is coming up.
The current scenario Punjabi cinema has changed with the upcoming fresh faces of the actors, actresses. The pronounced names of singer cum actors of Punjabi cinema are like Gippy Grewal, Diljit Dosanjh, Navraj Hans, Geeta Zaildar and many more. The rush of actors in Punjabi cinema has gained the volume.
List of National Award Winning Movies

Release Year Film-Title       Star-Cast                 Director       Award(s)
1962 Chaudhary Karnail Singh Jagdish Sethi, Prem Chopra, Madan Puri Krishan Kumar Certificate of Merit
1964 Jagga Dara Singh, Indira Jugal Kishore President's Silver Medal
1965 Sassi Punnu To be Updated S. P. Bakshi Certificate of Merit
1967 Sutlej De Kande Balraj Sahni, Nishi P. P. Maheshwary President's Silver Medal
1969 Nanak Nam Jahaz Hai Prithviraj Kapoor, I S Johar, Nishi, Vimi, Jagdish Raj Ram Maheshwary Best Punjabi Film Award
Best Music Direction
1980 Chann Pardesee Raj Babbar, Rama Vij, Kulbhushan Kharbanda, Rajni Sharma, Om Puri, Sunita Dhir, Mehar Mittal and Amrish Puri Chitrartha Singh Best Punjabi Film Award
1989 Marhi Da Deeva Raj Babbar, Deepti Naval, Kanwaljit, Parikshat Sahni, Asha Sharma Surinder Singh Best Punjabi Film Award
1993 Kachehri Gurdas Mann, Yograj Singh, Rama Vij, Mithi, Vijay Tandon, Rana Jung Bahadur, Avtar Gill, Dilshad Akhtar, Surjit Bhindrakhia, Mehar Mittal Ravinder Peepat Best Punjabi Film Award
1997 Main Maa Punjab Dee Dara Singh, Saaraf Deepak, Manjeet Kullar Balwant Dullat Best Punjabi Film Award
1998 Shaheed-E-Mohabbat Boota Singh Gurdas Mann, Divya Dutta, Aroon Bakshi, Gurkirtan, B.N. Sharma, Yograj Chedda, Darshan Aulakh, Hari Om Jalota, Raghuveer Yadav Manoj Punj Best Punjabi Film Award
2004 Des Hoyaa Pardes Gurdas Mann, Juhi Chawla, Divya Dutta, Parmeet Sethi, Sudhir Pandey, Madhumalti, Anoop Soni, Gurkirtan Manoj Punj Best Punjabi Film Award,
Special Mention - Gurdas Mann
2005 Baghi Om Puri, Paramveer Singh, Girja Shankar, Gurleen Chopra, Devinder Daman Gaj Deol, Sardar Sohi Sukhminder Dhanjal Best Punjabi Film Award
2006 Waris Shah: Ishq Daa Waaris Gurdas Mann, Juhi Chawla, Divya Dutta, Sushant Singh, Gurkirtan, Mukesh Rishi (Spl App) Manoj Punj Best Punjabi Film Award,
Best Male Playback Singer
Best Art Direction
Best Costume Designer
2011 Anhe Ghore Da Daan Sameul John, Mal Singh, Serbjeet Kaur, Dharminder Kaur, Emmanuel Singh, Kulwinder Kaur, Lakha Singh, Gurvinder Makhna Gurvinder Singh Best Punjabi Film Award,
Best Direction,
Best Cinematography
2012
Nabar Nishawn Bhullar, Rana Ranbir, Hardeep Gill, Harbinder Kaur Babli Rajeev Sharma Best Punjabi Film Award



Classifications of Punjabi films
There are many types on which the Punjabi films are classified. They are as follows-
• Action films-
 It usually include high energy, big-budget physical stunts and chases, possibly with rescues, battles, fights, escapes, destructive crises (floods, explosions, natural disasters, fires, etc.), non-stop motion, spectacular rhythm and pacing, and adventurous, often two-dimensional 'good-guy' heroes (or recently, heroines) battling 'bad guys' - all designed for pure audience escapism. A major sub-genre is the disaster film, they also include Adventure films. Adventure films are usually exciting stories, with new experiences or exotic locales, very similar to or often paired with the action film genre. They can include traditional swashbucklers, serialized films. There are many actions Punjabi films. Some of them are ‘Punjabian Da King’, ‘Gun & Goal’, ‘Romeo and Ranjha ’, ’Jigra Jatt Da’ and many more.

• Comedy films-
Comedies are light-hearted plots consistently and deliberately designed to amuse and provoke laughter (with one-liners, jokes, etc.) by exaggerating the situation, the language, action, relationships and characters. This section describes various forms of comedy through cinematic history, including slapstick, screwball, spoofs and parodies, romantic comedies, black comedy (dark satirical comedy), and more. The flood of comedy films can be easily seen in the Punjabi cinema. some movies are like ‘Posti’, ‘PowerCut’, ‘Yaar Anmulle’, ’Raulla Pe Gaya’ and many more.

• Drama Films-
Dramas are serious, plot-driven presentations, portraying realistic characters, settings, life situations, and stories involving intense character development and interaction. Usually, they are not focused on special-effects; comedy, or action, Dramatic films are probably the largest film genre, with many subsets. There are also melodrama, epics (historical dramas), or romantic genres. Dramatic biographical films (or "biopics") are a major sub-genre, as are 'adult' films (with mature subject content). Some of Punjabi drama movies are ‘Ek Noor’, ‘Yaara Oh Dildaara’, ‘Dharti’ and many more.

• Horror films-
Horror films are designed to frighten and to invoke our hidden worst fears, often in a terrifying, shocking finale, while captivating and entertaining us at the same time in a cathartic experience. Horror films feature a wide range of styles, from the earliest silent Nosferatu classic, to today's CGI monsters and deranged humans. They are often combined with science fiction when the menace or monster is related to a corruption of technology, or when Earth is threatened by aliens. The fantasy and supernatural film genres are not usually synonymous with the horror genre. There are many sub-genres of horror: slasher, teen terror, serial killers, zombies, Satanic, Dracula, Frankenstein, etc. Some of the Punjabi horror films are ‘Punniyan Di Raat’ , ‘Romance Not allowed’ and many  more.

• Religious films-
This genre has a huge impact over the Punjabi cinema. Beginning with the films like ‘Nanak Naam Jahaz Hai’ or Main ‘Papi Tum Bakhshanhaar’ were most hits of that times. Likewise, nowadays the religious genre of Punjabi films is favourite till now most famous and recent blockbuster movie ‘Chaar Sahibzaade’ would be most appropriate example.


• Romantic films-
As a whole, Punjabi cinema is flooded with the romantic movies. Starting with the movies like ‘Satluj De Kande’ or else hit like ‘Kankan de Ohle’ were the blockbuster hit romantic movies. Some of accurate examples of Punjabi romantic movies are like ‘Hasher’, ‘Yaariyan’, ‘Heer Ranjha’, ‘Lagda Ishq Hogaya’ and many more.

REFERENCES
1. Anhe Ghore da daan.(14 May 2015). Retrieved from http://en.wikipedia.org/wiki/Anhe_Ghore_Da_Daan

2. Dirks Tim. (n.d). main film genres. Retrieved from http://www.filmsite.org/genres.html

3. List of award winning Punjabi films.(n.d). retrieved from http://www.cinepunjab.com/2013/12/list-of-national-award-winning-punjabi.html

4. Marhi Da Deeva (1989 Film).17 December 2014. Retrieved From  Http://En.Wikipedia.Org/Wiki/Marhi_Da_Deeva_%281989_Film%29

5. Singh Sewa. (2012). A critical study of various phases of thematic changes in Punjabi cinema since its inception. Retrieved from https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=2&cad=rja&uact=8&ved=0CCgQFjAB&url=http%3A%2F%2Fshodhganga.inflibnet.ac.in%3A8080%2Fjspui%2Fbitstream%2F10603%2F10672%2F10%2F10_chapter%25204.pdf

CHAPTER-4

DATA ANALYSIS

AND

 INTERPRETATION

DATA ANALYSIS AND INTERPRETATION
Data Tabulation is the systematic arrangement of the statistical data in columns and rows. It involves the orderly and systematic presentation of numerical data in a form inference from the statistical figures. Tabulation prepares the ground for analysis and interpretation.

Data Analysis The process of extracting, compiling, and modeling raw data for purposes of obtaining constructive information that can be applied to formulating conclusions, predicting outcomes or supporting decisions in business, scientific and social science settings. Data analytics refers to qualitative and quantitative techniques and processes used to enhance productivity and business gain. Data is extracted and categorized to identify and analyze behavioural data and patterns, and techniques vary according to organizational requirements.

Data Interpretation refers to the process of critiquing and determining the significance of important information, such as survey results, experimental findings, observations or narrative reports. Interpreting data is important critical thinking skill that helps you comprehend text books, graphs and tables. Researchers use a similar but more meticulous process to gather, analyze and interpret data.

1. Percentage response regarding the liking for Punjabi movies.


Age Group Yes (%) No (%)
18-30           92              8
31-40             90    10

   


Observation:
The table and the graph above clearly defines that in the age group of 18  to 30 years it has come out that 92 percent of the audience liked watching Punjabi movies and the remaining eight percent in this age group has not given nod to Punjabi cinema. Majority of Punjabi cinema audience liked the work done by them. On the other hand, in the age group of 31 to 40 years, 90 percent of the people like Punjabi movies and only 10 percent of the people have not been convinced by the work of Punjabi cinema.
The data clearly indicates that Punjabi cinema is mostly popular amongst both the age groups. Only minority of the audience does not like watching Punjabi movies. The reason for this may be the entertainment being provided by these movies and also the frequency at which they are being produced. The Punjabi cinema which once lost its audience has revived itself from that phase and has once again caught the attention and liking of its audience.







2. Percentage response regarding the viewing habits of audience of Punjabi movies

Age groups (years) Once a week (%) Once a month (%) Occasionally (%) Never (%)
18-30 20 22 58 0
31-40 20 12 68          0









Observation:
The percentage of response of audience regarding viewing habits of Punjabi movies has shown that in the age group from 18years to 30 years 58 percent of audience watch Punjabi movie occasionally. Only 22 percent of audience watch Punjabi movie once in a month and only 20 percent watch Punjabi movie once in a week. In the age group from 31 years to 40 years total 68 percent of audience watch Punjabi movies occasionally. Only 12 percent of audience watch Punjabi movie once in a month and only 20 percent watch Punjabi movie once in a week.
The majority of audience watch Punjabi movie only occasionally and other minority of audience watch Punjabi movie once in a week and once in a month. The data compile here, shows that both age groups watch Punjabi movies occasionally. It can be due to reason that good Punjabi movies are not efficiently and regularly be released. The audience of both age groups watch Punjabi movies only when a Punjabi movie with superior class of content being released in the box office of Punjabi cinema.







3. Response regarding the most appealing types of Punjabi movies

Age group (years) Commercial movies (%) Art movies (%)
                 18-30 42 58
31-40 50 50







Observation:
The above table, graph and other diagrams shows the response of audience regarding most appealing Punjabi movie types. In results, from the age of 18 years to 30 years people has liked 58 percent Art movies and only 42 percent has liked Commercial movies. In the other age group staring from 31 years to 40 years has equally liked both commercial and Art movies. The commercial movies have been liked by 50 percent and the Art movies have been liked by other 50 percent.

As the majority of audience, the Art movies have been chosen.  The minority likes the other part i.e. commercial movies. The main reason can be presume as the changing taste of the audience. In the beginning of this decade, the flood of comedy commercial movies has come and these commercial movies were filled till neck in the Punjabi cinema box office. But now with the time the audience taste has been changed. The audience is now more aware about the reality and wants to watch same reality in the Punjabi cinema too.







4. Response regarding producing of more commercial movies than meaningful cinema.

Age group (years) Yes (%) No (%) To some extent (%)
18-30 64 12 24
31-40 50 28 22








Observation:
In the above table and graph chart, it shows the response of comparison regarding producing of commercial movies than meaningful cinema. In the age group starting from 18 years to 30 years 64 percent of audience of Punjabi cinema gives nod that the Punjabi cinema has produced more of commercial movies than meaningful cinema where only 12 percent has declined that there has not any difference of commercial cinema with meaningful cinema .only 24 percent of audience has agreed on to some extent. In the age group starting from 31 years to 40 years 50 percent audience has agreed that Punjabi cinema has produced more commercial movies than meaningful cinema where only 28 percent declined and only 22 percent said to some extent more commercial movies has been produced as compare to meaningful cinema.

The majority agrees that Punjabi cinema has produced more of commercial movies than meaningful cinema where minority declines same thing. The reason behind may be that the Punjabi movie producers have already worked on the movies for the sake of commercialisation. The audience may have changed their taste of Punjabi movies.




5. Results regarding the liking for particular genre of Punjabi movies.

Age Group (years) Romantic based Comedy based Historical based Action-Thriller based Family based
18-30 8% 60% 20% 0% 2%
31-40 10% 68% 14% 6% 4%








Observation:
The above data table and graphs represents the likings of audience regarding particular genres in Punjabi cinema. The results of age group from 18 years to 30 years have liked comedy based Punjabi movie 60 percent, where historical based only 20 percent. Only eight percent of audience has liked the romantic based Punjabi movie and two percent liked family based drama Punjabi movies. In the age group starting from 31 years to 40 years, here comedy based Punjabi movie has been liked by 68 percent of audience where 14 percent audience has liked history based Punjabi movies. Only ten percent of audience has liked romantic based Punjabi movies. The action thriller genre of Punjabi movies has been liked by four percent of the audience.
Here, in these diagrams it is clearly shown that the majority of audience likes comedy based Punjabi movies and other minority like history based or romance based movies do not liked by the audience that much as compare with the comedy based Punjabi movie. The reason behind the likings of comedy genre can be presume as that audience now days wants a light entertainment just make evaporate their daily life tensions. The comedy genre movies make people laugh and release their stress.










6. Response regarding the last watched Punjabi movie.

Age Group (years) Chaar Sahibzaade Eh Janam Tumhre Lekhe Punjab 1984 Any other
18-30 28% 20% 36% 16%
31-40 34% 10% 36% 20%






Observation:
 In the above table and graph, the response regarding last Punjabi movie watched has shown. In the age group starting from 18 years to 30 years, 36 percent of audience has last watched ‘Punjab 1984’ where 28 percent have watched ‘Chaar Sahibzaade’. ‘Eh Janam Tumhare Lekhe’ has been watched by 20 percent where only 16 percent has watched Any Other movies. In the age group starting from the 31 years to 40 years, last time watched Punjabi movie has been ‘Punjab 1984’, it has been watched by 36 percent of audience. ‘Chaar ‘sahibizaade’ on the minority side has been selected by 34 percent of audience, where ‘Eh Janam Tumhare Lekhe’ has been last time watched by only 10 percent of audience and 20 percent of audience has watched some other Punjabi movie.
Here, in these diagrams it has been shown that ‘Punjab 1984’ has been watched by majority of audience where minority lies with other movies. The reason behind watching Punjab 1984 may be because of its promotion and content of the movie. The content was new and unique and the story was beautifully arranged. It was master classic piece of excellent history drama.

7. Response regarding the most liked element in Punjabi movies

Age group (years) Storyline Music Locations Starcast Direction Any Other
18-30 20% 58% 4% 0% 2%
16%
31-40
24% 52% 2% 2% 8% 12%







Observation:
In the above table and graph, response regarding favourite content in Punjabi movie has been shown. In the age group starting from 18 years to 30 years, 58 percent of audience has liked the music of Punjabi movies where only 20 percent of audience has liked storyline of Punjabi movies. Locations of the Punjabi movie have been liked by 4 percent of the audience and direction has been liked by only two percent of audience. 16 percent of audience has like Any Other things in the Punjabi movies. In the age group starting from 31 years to 40 years, music has been liked by 52 percent of audience where storyline has been liked by 24 percent. Directions of Punjabi movies have been liked by eight percent of audience, two percent for locations and two percent for star cast. Here, 12 percent of audience has liked Any Other content of Punjabi movies.
In the data diagrams, it has been shown that majority of audience has liked music and locations, storyline and other options as minority. The reason behind the choice of music option is that the quality of Punjabi songs and music is much better than other content of Punjabi movie and has become an attraction point in the Punjabi movies. The music industry of Punjab has been raised to a solid platform where the Punjabi music has become the supportive backbone of the Punjabi movies.













8. Response of audience for their favourite Punjabi movie


Age group(years) Jatt & Julliet Kudesan Chaar Sahibzaade Any other
18-30 46% 2% 40% 12%
31-40 28% 4% 42% 6%










Observation:
In the above table and graph, the response of audience regarding their favourite Punjabi movie. In the age group starting from 18 years to 30 years, ‘Jatt & Julliet’ has been choose by 46 percent of audience and ‘Chaar Sahibzaade’ has been chooses by 40 percent of audience. Only two percent of audience has liked ‘Kudesan’ has liked by Punjabi cinema audience and 12 percent of audience has liked other Punjabi movies. In the age group starting from 31 years to 40 years 42 percent of audience has liked ‘Chaar Sahibzaade’ and only 28 percent has chooses ‘Jatt& Julliet’. Only four percent of audience has liked ‘Kudesan’ and 6 percent of audience liked other Punjabi movies.
Here, in the younger age group audience has liked ‘Jatt & Julliet’, where in the older age group ‘Chaar Sahibzaade’ has been liked by the audience. This variation can be due to age difference and choice of younger generation as compare to older generation. The younger age group has liked Rom-Coms where the older age group has liked real historic genre of movie. The ‘Chaar Sahibzaade’ movie is a 3-dimensions animated religious movie. So, hence the variation of favourite movie goes in between ‘Jatt & Julliet’ and ‘Chaar Sahibzaade’.












9. Response regarding the favourite Punjabi actor.

Age group (years)   Diljit Dosanjh (%)  Gippy       Grewal (%)  Gurdas    Mann (%) Any Other (%)
18-30 56 18 16 10
31-40 42 16 26 16
.







Observation:
In the above graph and data table, it represents the response of audience regarding favourite Punjabi movie actor. In the age group starting from 18 years to 30 years, ‘Diljit Dosanjh’ has been liked by 56 percent of audience where ‘Gippy Grewal’ has been liked by 18 percent of audience. Only 16 percent of audience has liked ‘Gurdas Mann’ and 10 percent of audience has voted for other Punjabi film actors. In the age group starting from 31 years to 40 years, again ‘Diljit Dosanjh’ has been liked by 42 percent of Punjabi film audience where only 16 percent of audience liked ‘Gippy Grewal’. Only 26% of audience liked ‘Gurdas Mann’ and 16 percent has liked other Punjabi film actors.
Here, ‘Diljit Dosanjh’ has been liked by majority of public and minorities goes with other actors. ‘Diljit Dosanjh’(singer turned actor) has been liked due to major romantic comedies of Anurag Singh’s ‘Jatt & Julliet’ series and ‘Punjab 1984’ also. The characters of ‘Diljit Dosanjh’ in these respective movies were exceptional and largely motivated by audience. The acting skills of ‘Diljit Dosanjh’ have been also polished with the time.















10. Response regarding the favourite Director of Punjabi movies.

Age group (years)   Anurag Singh (%) Manmohan Singh (%)  Jeet Maathru (%) Harry Baweja (%)
18-30 78 6 4 12
31-40 48 14 20 18









Observation:
In the above data table and graph, the result of favourite Punjabi movie director has been shown. In the age group from 18 years to 30 years, ‘Anurag Singh’ has been liked by 78 percent of audience where ‘Harry Baweja’ has been liked by 12 percent of audience. Only six percent of audience has liked ‘Manmohan Singh’ and only four percent of audience has liked ‘Jeet Maathru’. In the age group from 31 years to 40 years, ‘Anurag Singh’ has been liked by 48 percent of audience where only 18 percent has liked ‘Harry Baweja’. Only 14 percent of audience has liked work of ‘Manmohan Singh’ and only 20 percent of audience has liked direction of ‘Jeet Maathru’.
Here, in the above diagrams. The conclusion of favourite Punjabi film director has been gone with ‘Anurag Singh’. The fame of ‘Anurag Singh’ is not ignorable. The contribution of films like ‘Jatt & Julliet’ series and ‘Punjab 1984’ has made corner in the hearts of audience. Thus, the work of ‘Anurag Singh’ has been recognised by the Punjabi cinema audience.

























11. Response regarding watching of Punjabi short movies.

Age group (years) Yes (%) No (%)
18-30 40 60
31-40 40 60








Observation:
In the above table and graph chart, the response regarding watching Punjabi short
movies has been shown. In the age group from 18 years to 30 years, 60 percent of audience has not seen any of the Punjabi short movies and only 40 percent has seen the Punjabi short movies. In the age group from 31 years to 40 years, 60 percent of audience has never seen the Punjabi short movie where only 40 percent has seen the Punjabi short movies.

In the above diagrams, the majority has not seen the Punjabi short movie. While in the minority, 40 percent has seen short movies like ‘Ishq Haazir Hai’, ‘Sutta Naag’ and ‘Nooran’. The reason behind majority have not seen any major short movie because the lack of promotion of the movies or else reason can be because they are not commercialised as compare to the other full feature Punjabi movies.






















11 (a). Response regarding the most watched Punjabi short movie.

Age group (years) Nooran Sutta Naag Ishq Haazir Hai Any Other
18-30 10% 4% 86% 0%
31-40 30% 20% 40% 10%









Obseravtion:

In the above table and graph chart, response regarding most watched Punjabi short film has been shown. In the age group from 18 years to 30 years, ‘Ishq Haazir Hai’ has been watched by 86 percent of audience where ‘Nooran’ by 10 percent audience and ‘Sutta Naag’ by only 4 percent of audience. In the age group from 31 years to 40 years, ‘Ishq Haazir hai’ has been watched by 40 percent of audience, where 30 percent has been watched ‘Nooran’ and only 20 percent has watched ‘Sutta Naag’. Only 10 percent audience has watched other movies.
The majority in both age groups have been with ‘Ishq Haazir Hai’ and minority goes with other. The reason behind this majority may be that the Actors involve in the movie. The actors like ‘Diljit Dosanjh’ who is most favourite Punjabi movie actor that has been concluded in the above question.





















12. Response regarding the liking for the word ‘Jatt’ in Punjabi movies.

Age group (years) Yes (%) No (%)
18-30 52 48
31-40 54 46







Observation:
In the above table and graph chart, the response regarding liking of ‘Jatt’ word in the Punjabi movie has been shown. In the age group from 18 years to 30 years, 52 percent has nodded for the word where only 48 percent declined. In the age group of 31 years to 40 years, 54 percent of audience liked the word where only 46 percent has declined.
Here, the majority likes the ‘Jatt’ word in the Punjabi movie and minority dislikes. The reason behind liking may be that by this word audience can actually relates them with the movie. As the Punjabi movies are made for Punjabi audience while taking them under consideration.
















13. Response regarding the usage of word ‘Jatt’ in the title of Punjabi movies.

Age group (years) Yes (%) No (%) To some extent (%)
18-30 24 44 32
31-40 46 24 30





Observation:
In the above graph and table, the response regarding the usage of word ‘Jatt’ in the title of Punjabi movies have been shown. In the age group from 18 years to 30 years, 44 percent has not liked it where 24 percent agreed and only 32 percent did not formed any view by saying to some extent. In the age group from 31 years to 40 years, 46 percent of audience has liked the usage of the word ‘Jatt’ in the title. While 24 percent of audience has declined and 30 percent of audience has liked it to the some extent.
Here, in the above diagrams, it shows that the young age group don’t like usage of ‘Jatt’ word in the title and the older age group likes it. The reason behind of disliking usage of ‘Jatt’ word may be that the younger age group is fed up from the synchronised loop. The loop of ‘Jatt’ word again and again has bored the audience. The other older age group has liked the usage of ‘Jatt’ word in the title may they like creativity filled in the title like Jatt James Bond. The other reason can be that the older age audience can relate themselves with the movie concept and its title.












14. Response regarding the promotion of Punjabi movies.

Age group (years) Yes (%) No (%) To some extent (%)
18-30 58 12 30
31-40 64 12 24










Observation:
In the above charts and data table, the response regarding promotion leads to success in Punjabi cinema has been shown. In the age group from 18 years to 30 years, 58 percent of audience agrees with the point of promotion, while 12 percent disagree and 30 percent says to some extent. In the age group from 31 years to 40 years, 64 percent of audience agrees, while 12 percent disagrees and only 24 percent of audience says to some extent.
Here, the majority of both groups go with the yes, saying promotions leads to success in Punjabi cinema. The reason behind the majority may be that the promotion leads to awareness. If the audience is aware of the upcoming Punjabi movies, they will surely have a look over those Punjabi movies. The awareness leads to the success of the movie.














15. Response regarding the awareness of movie content while watching.

Age group (years) Yes (%) No (%) Always (%) To some extent (%)
18-30 70 8 16 6
31-40 64 16 20 0










Observation:
In the above diagrams and table, the response regarding awareness of movie content while watching Punjabi movie has been shown. In the age group from 18 years to 30 years, 70 percent of audience agrees and says that they pay attention while watching Punjabi movies, while eight percent never pay attention for the content. 16 percent of audience always pay attention and six percent pays attention to some extent. In the age group from 31 years to 40 years, 64 percent audience pay attention towards movies content, while 16 percent disagree. Only 20 percent always pay attention.

Here, in the above diagrams shows that majority of audience pays attention to the content of the Punjabi movie. As the audience has become smart and now they pay roll on everything that happens around them. Audience is now attentive, intelligent and always responds.
























16. Response regarding restructuring of the content of Punjabi movies.

Age group (years) Yes (%) No (%) To some extent (%)
18-30 44 24 32
31-40 60 20 20




Observation:
As in the data table and graph, response regarding restructuring the content of the Punjabi movies has been shown. In the age group from 18 years to 30 years, 44 percent has nodded for the restructure while 24 percent disagree with this. Only 32 percent of audience has said to some extent for the restructure of Punjabi movie. In the age group from 31 years to 40 years, 60 percent audience has nodded for restructure while 20 percent has been disagreed and only 20 percent has felt to some extent the restructure.
Here, in the above diagrams, the majority has opted for reconstruction of the Punjabi movies. The reality based Punjabi movies have been liked by audience of current generation. The audience has been bored and need a change in production of Punjabi movies. The circle of comedies has gone round and round and it will be beneficial for the producer of the Punjabi movies. The audience wants the restructure of the Punjabi movies content and stories.





17. Response regarding the relating of Punjabi cinema with real life situation.

Age group (years) Yes (%) No (%) To some extent (%)
18-30 26 40 34
31-40 34 28 38







Observation:
In the above graph and data table, the response of relating Punjabi movies with real life situation has shown. In the age group from 18 years to 30 years, 40 percent of audience has strongly disagreed that they did not relate their life situation with Punjabi  movies while 26 percent had agreed that Punjabi movies has made an impact on their lives. Only 34 percent has impact to some extent on their lives. In the age group from 31 years to 40 years, 36 percent of audience has agreed that they relate them with Punjabi cinema while 28 percent had declined that they did not relate themselves with Punjabi cinema. Only 38 percent has impact to some extent on their lives.
Here, in the majority. The audience has related themselves with Punjabi movies to some extent. The reason behind relating themselves with the Punjabi movies may be that the Punjabi cinema has come up with the genuine platform and original content. The Punjabi cinema storyline and music also relate with the lives of audience. The hype of reality based movies is also in trend in Punjabi cinema.












18. Response regarding the most relatable Punjabi movie to audience.

Age group (years) Jatt & Julliet Jee Ayan Nu Chaar Sahibzaade Mirza Mini Punjab Carry on Jatta Any Other
18-30 0% 10% 58% 2% 4% 6% 20%
31-40 34% 4% 42% 4% 4% 8% 0%








Observation:
In the above graph and data table, the response regarding most relatable Punjabi movie selected by audience has been shown. In the age group from 18 years to 30 years, ‘Chaar Sahibzaade’ has been liked by 58 percent of audience while ‘Jee Ayan Nu’ has been liked by 10 percent of audience. Only six percent liked ‘Carry on Jatta’, two percent liked ‘Mirza’, four percent liked ‘Mini Punjab’ and 20 percent liked any other Punjabi movies. In the age group from 31 years to 40 years, ‘Chaar Sahibzaade’ has been liked by 42 percent of audience while 34 percent liked ‘Jatt & Julliet’. Only four percent audience liked ‘Jee Ayan Nu’, four percent liked ‘Mirza’, four percent liked ‘Mini Punjab’ and only eight percent liked ‘Carry on Jatta’.
Here, in the majority, ‘Chaar Saahibzaade’, a reality based historic movie has been selected by audience. The reason behind the choice of the audience may be that the taste of audience has tilted towards the reality based crux movies. The bend towards art movies can be easily notice. The Punjabi movie has taken an angle of social rectification.













19. Response regarding the impact of Punjabi movie on audience life.

Age group (years) Yes (%) No (%)
18-30 38 62
31-40 20 80







Observation:
In the above data table and graph, the response regarding impact of Punjabi movie on life of audience has been shown. In the age group from 18 years to 30 years, 62 percent audience has disagreed with the statement while only 38 percent has agreed with it. In the age group from 31 years to 40 years, 80 percent has disagreed while only 20 percent has agreed with it.
Here, in the majority, both of the age groups have not as such any impact on their life. The reason behind may be that the plot or storyline of the Punjabi movies are not that impactful and even long lasting. Simple stories or normal content can be easily bare off by audience. Till now, there are not any change can be notice by the film producers in the Punjabi movie. Same old loop of rom-coms Punjabi movies fails to put an impact and reshapes the Punjabi cinemas.














20. Response regarding any particular genre that audience wants to be worked upon in Punjabi cinema.
Age group(years) Reality based NRI based Social problem based Romance based Historical based
18-30 58% 2% 22% 8% 10%
31-40 56% 4% 30% 4% 6%











Observation:
As above in the data table and graph chart, the response regarding particular genre that audience wants to worked upon in Punjabi cinema has be shown below. In the age group from 18 years to 30 years, 58 percent liked reality based Punjabi movies while 22 percent liked social problem based Punjabi movies. Only 10 percent liked history based, eight percent audience liked romance based and only two percent liked NRI based Punjabi movies. In the age group from 31 years to 40 years, 56 percent of audience liked reality based Punjabi movies while 30 percent audience liked social problem based Punjabi movie. Only six percent audience liked historical Punjabi movies, four percent liked NRI based and four percent liked romance based Punjabi movies.
Here, in the diagrams, majority of both age groups, audience liked reality based Punjabi movies. The reason behind the selecting this genre may be that the audience has been bored from same rom-coms that were produced by the Punjabi cinema steadily. The audience has been chosen the option of reality based Punjabi movies as it will generate awareness in the wide spread unknown audience. The knowledge and information were always kept away from the public that should be shown to the audience. The Punjabi movies will directly put an impact and will progress the society.

CHAPTER 5

CONCLUSION

CONCLUSION
Hypothesis 1- The preference of audience has changed from romantic comedies to reality based movies.
In both the age groups, comedy (68 percent) based Punjabi movies have been liked by the majority of audience of Punjabi cinema. Only minority has liking for historical (14 percent) and romantic (10 percent) movies. The reason behind the likings of comedy genre may be that audience has certain amount of preference for entertainment.  Comedy movies help in relieving tension and provide some sort of recreation to the audience. If on one end, there has been liking for comedy genre, there have been nearly 58 percent people who have voted in favour of more reality based movies in future. This means the taste of majority of audience is tilting towards the serious reality based cinema. Hence, this hypothesis has been proved right that preference of audience is changing from romantic comedies to reality movies.
Hypothesis 2- Punjabi cinema industry has started focussing on commercial rather than meaningful cinema.
In response to the focus on meaningful cinema, the majority (58 percent) of population has said that Punjabi cinema should come up with more such movies. The reason may be that commercial movies are being produced at a very fast pace; with more or less the same storyline, same star cast, similar music with very less of variety. The audience somehow is getting bored of the same concept. The monotony can be broken only with a new set of Punjabi movies. And this time the bend should be towards the meaningful cinema.  It is high time; more reasonable, interesting and realistic movies should take over the existing meaningless cinema. Thus, the second hypothesis has also been proved right.

Hypothesis 3- Audience is much aware about the deteriorating standards of Punjabi movies.
The response regarding restructuring the content of the Punjabi movies has been clear. In both the age groups, the majority (60 percent) of audience has given its nod to restructuring of the Punjabi cinema. The reality based Punjabi movies have come out as a new liking amongst the audience. The reason may be the boredom which these rom-coms have been giving to them for quite some time now. It is about time that the Punjabi movies should be restructured from the audience point of view not just the commercial point of view. Everything new and fresh when shown in a movie would definitely be liked by the audience. Therefore, on the basis of the obtained results, this hypothesis has been proved right.
Hypothesis 4- A particular stratum of audience certainly has an inclination towards art or meaningful cinema.
In response to this, the results have been quite revealing as both the age groups 18-30 years (52 percent) and 31-40 years (50 percent) have shown their interest towards the art cinema and not the commercial. Though it was expected that the younger age group would prefer entertainment over seriousness but surprisingly even this age group said ‘yes’ to meaningful and not meaningless. The reason for this seems to be the changing preference for the type of cinema. The another reason can be that Bollywood has been producing and promoting much of art films these days and the same is required of the Punjabi cinema. Pollywood is definitely a big industry like Bollywood, commercial movies should definitely be produced as they help in fetching revenue but meaningful cinema should not take a back seat at any cost. Thus, looking at the results, this hypothesis has been proved wrong because both the age groups have liking for serious cinema.

Hypothesis 5- Punjabi cinema has a great impact on the lives of its audience.
 The response regarding impact of Punjabi movies on the life of audience has been shown. In both the age groups, the majority (62 percent for 18 to 30 years age group & 80 percent for 31 years to 40 years) of audience has disagreed to the fact that Punjabi movies have any kind of impact on their lives. The reason behind may be that most of the movies have been produced from commercial point of view, most of them have similar and less impactful storyline  and  are far from reality. That is why; the audience forgets the movie, the moment it steps out of the cinema hall. An audience would remember the movie which is close to its life or somewhere nearby, something it can easily relate to. Thus, the result proves this hypothesis right.
Hypothesis 6- The word ‘Jatt’ has a huge impact on Punjabi film audience.
The response regarding the liking for the word ‘Jatt’ in the Punjabi movie has been shown. In both the age groups, the majority (44 percent) of audience has liked the word ‘Jatt’ and its usage. The reason being the word ‘Jatt’ is too very common among the Punjabi community as they can easily relate themselves to it. ‘Jatt’ is not only a word but is considered as a religion in Punjab. ‘Jatt’ feel a great pride in the fact that there are movies with this title. The audience feels as if they have been given substance while using ‘Jatt’ in these movies. The audience is definitely pulled to the cinema halls to watch such movies. The result clearly proves the hypothesis right that the word ‘Jatt’ has a huge impact on Punjabi audience.
In the above proving of hypothesis, the majority of hypotheses have been proved right. The Punjabi cinema has great importance in the lives of audience of Punjab and even the cinema is providing adequate entertainment to the audience. But to provide the satisfaction to the audience the Punjabi cinema producers needs to rectify and reconstructs the present structure of Punjabi film. So as the directors and producing get evenly paid for their efforts and hard work. The only way out for the producers and directors would be to bring out the creative part of the cinema and should leave out respective ongoing monotonous cinema.
 According to the survey, the majority (42 percent) of audience has liked the ‘Chaar Sahibzaade’ as their favourite Punjabi. The reason behind the likeness of this three-dimensional animated movie may be that the audience has been inclined towards the historical conceptual Punjabi movies. The audience of Punjabi cinema (already discussed) likes the reality based movies. The majority (56 percent) audience of Punjabi cinema has liked ‘Diljit Dosanjh’ as their favourite Punjabi movie actor. The reason behind the likeness may that the audience has liked the acting skills and may be the roles performed by him. ‘Diljit Dosanjh’ is a singer cum actor and his acting skill has been polished with time.  Even the most watched Punjabi short movie is ‘Ishq Haazir Hai’ with the majority of 86 percent. The lead role here has been played by ‘Diljit Dosanjh’. The popularity of ‘Diljit Dosanjh’ and this short Punjabi movie is interlinked, as both of them are admiring. The music of Punjabi cinema industry has also done a commendable job as the majority likes the music direction of the Punjabi movies. The music industry has been already flourished in Punjab. The number of singers in Punjab is increasing day by day. The reason behind the strength of singers and music in Punjabi cinema industry may be that everyone at their place is getting there appraisal.





BIBLIOGRAPHY






BIBLIOGRAPHY
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Appendix






Questionnaire

Name-_______________________________                      Age-____________                                                                

1. Do you like watching Punjabi movies?
a. Yes
b. No

2. How often do you watch a Punjabi movie?
a. Once a week
b. Once  a month
c. Occasionally
d. Never

3. Which Punjabi movies appeal to you the most?
 a. Commercial movies
 b. Art movies

4. Do you think Punjabi cinema is producing more of commercial than the meaningful films?
a. Yes
b. No
c. To some extent

5. What kind of Punjabi movies you like to watch?
a. Romantic
b. Comedy
c. NRI
d. Historical
e. Action- Thriller
f. Family drama

6. Which was the last Punjabi movie you watched?
a. Chaar Sahibzaade
b. Eh Janam Tumhare Lekhe
c. Punjab 1984
d. Any other___________________________

7. What do you like the most in Punjabi movies?
a) Storyline
b) Music
c) Locations
d) Starcast
e) Direction
f) Any other..........................................................



8. Which is your favourite Punjabi movie?
a. Jatt and Julliet
b. Kudesan
c. Chaar Sahibzaade
d. Any other...................................................................

9. Who is your favourite Punjabi actor?
a. Diljit dosanjh
b. Gippy grewal
c. Gurdas Mann
d. Any other......................................................................

10. Who is your favourite Punjabi film director?
a. Anurag Singh
b. Manmohan Singh
c. Jeet Matharru
d. Harry Baweja

11. Have you ever watched a Punjabi short movie?
a. Yes
b. No
     11(a).  If yes, which Punjabi short film have you seen?
a. Nooran
b. Sutta Naag
c. Ishq Haazir Hai
d. Any other...................................................

12.  Do you like the word ‘Jatt’ in Punjabi films?
a. Yes
b. No

13. Do you think including the word ‘Jatt’ in the title attracts the audience?
a. Yes
b. No
c. To some extent

14. Do you think that movie promotions lead to its success?
a. Yes
b. No
c. To some extent

15. Do you pay attention to the movie content while watching it?
a. Yes
b. No
c. Always
d. To some extent

16. Do you think the content of Punjabi movies needs to be restructured?
a. Yes
b. No
c. To some extent

17. Do you think Punjabi cinema is close to reality?
a. Yes
b. No
c. To some extent

18g. Which Punjabi movie you feel is close to a real life situation?
a. Jatt and Julliet
b. Jee Ayan Nu
c. Chaar Sahibzaade
d. Mirza
e. Mini Punjab
f. Carry on Jatta
g. Any other...................................................................

19. Has any Punjabi movie created an impact on your life?
a. Yes
b. No
     19 (a). If yes, which movie has done so? ................................................
20. As an audience, what kind of movies you want from Punjabi cinema?
a. Reality based
b. NRI based
c. Social problems based
d. Romance based
e. History based
f. Religion based